"Our dramas are like biryani: easy to make, easy to enjoy," says actor Junaid Khan

The '10th Adab Festival' came to a close on Sunday after two days of cultural programming in the city. The final day brought together literary sessions, book launches, artist participation, and music, adding a distinct energy to Karachi’s cultural landscape. Across the weekend, the festival featured Urdu literary and intellectual discussions, children’s activities, youth workshops, and poetry recitals.

Among the second day’s events, the most attended session was Mirror to Society: The Journey of Pakistani Film and TV Dramas, featuring actors Hina Khawaja Bayat, Arshad Mehmood, Ali Khan, Ayesha Toor, Junaid Khan, and Misbah Khalid, moderated by Khalid Anam. The conversation examined how Pakistani television has shifted alongside changing social and technological contexts.

Opening the discussion, Hina Khawaja Bayat reflected on the evolution of storytelling on screen. "Wherever there is a creative process, it can never remain frozen. It has to evolve, it has to change. This will happen because times are changing, circumstances are changing, people’s needs are changing, and people’s minds are changing. If I tell a child that when I went to school we didn’t have computers, they look at me as if I were a dinosaur," she said. 

She continued by linking technological shifts to artistic expression: "When technology changes, circumstances change, even geopolitical situations change, it certainly affects your expression. Now that expression is more complete in the form of a drama because it includes music, character development, and intellectual processes. So it will change. As Manto said, whatever the nakedness of the era is, I will show it as it is, I will not dress it up."

Building on the idea of changing audience habits, Junaid Khan likened mainstream family dramas to comfort food. He described family soap operas as “biryani”: "I would call them ‘Biryani’ they are easy to make, easy to consume, and universally liked. You ask ten people ‘Will you have biryani or sushi?’ nine out of ten will choose biryani because it is preferred. Ordinary dramas are like biryani; they are made easily, they don’t require much creative effort or brain, and they are easy to consume, so even the reading pleasure comes." However, shared viewing habits have shifted amongst audiences. "Earlier, our dramas were watched by the whole family together; maybe that has become difficult now. People can no longer sit together to watch."

Extending the conversation on audience expectations, Ayesha Toor pointed to the recurring themes in contemporary scripts. "Earlier, dramas mostly revolved around celebrations how many weddings, how many events. When I ask why every script contains a wedding, I am told that is what our audience wants, that is what the public wants," she said.

Returning to the industry’s structural changes, Bayat noted how the production landscape has altered over time. "I am perhaps still one of the fortunate or difficult people who receive full scripts. If not complete, at least 75 percent. Talking about change, the biggest change I have seen is that earlier on PTV, despite martial law, I witnessed some productions on television that we couldn’t even imagine, yet they were skillfully created."

She continued: "This was the era of dramas like Waris and Neelay Haath, based entirely on ordinances. Now business has entered dramas. Brand managers and marketers how much connection do they have with literature, writing, character development, or social storytelling? We know, and you know."

Bayat also questioned the idea that audiences demand uniform content: "If the audience doesn’t want to watch weddings, tell me why such productions get 19 to 20 million views. Now, because of social media, anyone with talent can showcase. But just because a lead actor has six million Instagram followers doesn’t mean they will portray the character accurately. This change is slightly risky and needs attention."

The conversation then turned to craft. Khalid Anam highlighted the role of background music in earlier dramas: "In the past, background music played an important role. We would work with artists like Arshad Mehmood and tell directors firmly that this is my work, you leave it."

Arshad Mehmood recalled his collaboration with writer Haseena Moin: "I had a very good friendship with Haseena Moin. She wrote 19 dramas in total, 17 of which featured my background music. But it wasn’t because of friendship. This was a time when martial law was in effect, and Faiz’s poetry was banned, so we had to be very careful."

Speaking to The Express Tribune, Anam also reflected on the role of cultural events in the city’s life: "This is Karachi’s old liveliness. Why should the Adab Festival take place only once a year? Why can’t it be held three times, or even seasonly alongside cultural festivals? This is the need of the hour. We don’t want to focus on news and politics; this is our politics. Adab is our politics of Pakistan, of Karachi, of artists and it should be of all of you." 

Beyond the drama discussion, the final day of the festival also included a dialogue on Mian Raza Rabbani’s book and the launch of the Gulgee Museum handbook. Conversations on Gulgee’s art and live performances drew steady crowds throughout the afternoon.

The festival concluded with a closing session on satire and social media culture featuring Nadeem F. Pracha, Zarar Khoro, and Shehzad Ghiyas, followed by a music concert by Saif Samejo that wrapped up the weekend’s programming